Nextorage will hold a special sale from June 16th - 22nd in conjunction with participating in the 2025 Bild Expo.
Reminder: the 2025 Bild Expo starts next week in NYC (free registration)
The post Nextorage special sale for Bild Expo 2025 appeared first on Photo Rumors.
Topaz Labs announced Bloom - a new powerful creative tool for upscaling AI-generated images:
Bloom is fantastic for enhancing:
Bloom is the most powerful creative upscaler on the market, and it is built from the ground-up for enhancing AI generated images, and for creators using AI content in their creative workflows.
You don’t need creative upscaling for most photos - but the results are absolutely unbelievable on AI generated images:
Bloom is built for upscaling and adding detail to AI generated images, and you’re going to get the best results using Bloom for this use case.
In a typical creative workflow, Bloom is primarily used as a post-processing and enhancement tool. Its application is most effective after the initial creation or generation of an image.
The types of images that benefit most from Bloom’s creative upscaling include a diverse range of digital art styles:
Currently, Bloom is compatible with PNG and JPG file formats.
The original image is lacking the true detail density required to get a great result. Creative Upscaling is a technique that gives our AI models creative license to add more detail and texture back into the image, increasing detail density to get a great result – which looks much more realistic:
Above: Creative upscale using Bloom. Look at the vastly improved texture and details on the clothes here. A few extra buttons too, which probably should have been there.
The post Topaz announced Bloom: a powerful creative tool for upscaling AI-generated images appeared first on Photo Rumors.
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| Fujifilm X-H2 | Fujifilm XF 23mm F2.8 R WR | F5.6 | 1/500sec | ISO 125 Photo: Mitchell Clark |
This week, Fujifilm announced the XF 23mm F2.8 R WR, a pancake lens that provides the 35mm equiv. field of view loved by street photographers without a ton of bulk. It's being launched alongside the X-E5 as a kit lens (and our sample gallery for that camera also includes several photos taken with it), but it'll be for sale separately later this year.
We got to spend some time with a pre-production copy, and the samples should provide an idea of how it performs. The images shown in the gallery were processed using our standard Capture One workflow.
Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing; we do so in good faith, so please don't abuse it.
Godox announced a new V480 TTL flash for Sony, Canon, Nikon, Fuji, Olympus, and Panasonic cameras:
Additional information:
| GN 50 | Compact & Portable | HD Touchscreen |
| 10-Level LED Lamp | 2.4 GHz Wireless | Full Flash Modes |
Meet the Godox V480: a sleek GN 50 on camera flash that brings studio quality light wherever you shoot. Powered by a high capacity Li-ion battery delivering up to 650 fullpower flashes with a rapid 1.7 s recycle, it offers both a responsive touchscreen and tactile buttons for intuitive control. With High speed sync up to 1/8 000 s, an integrated 2.4 GHz X wireless system, and a 10 level LED modeling lamp, the V480 is the compact lighting solution for any creative pursuit.
1. Intuitive Touchscreen & Buttons
The V480’s 2.0″ color touchscreen and tactile buttons work seamlessly together to deliver fast, precise adjustments. Tap, swipe, or press buttons to navigate menus effortlessly, allowing you to change settings quickly without interrupting your workflow.
2. Smart Distance Readout
Say goodbye to exposure guesswork. The V480’s display shows real-time effective flash range, so you’ll know instantly if your subject is within optimal reach—ideal for tight spaces, bounce applications, or fast-paced events.
3. Sender & Receiver Functionality
The built-in Godox 2.4 GHz X wireless system lets the V480 act as both sender and receiver across 32 channels up to 100 m away. Control multiple flashes directly from the unit—no external triggers required.
4. Pro-Level Flash Modes
V480 gives you full creative control with TTL, Manual, Multi mode, and High-Speed Sync up to 1/8000 s. Fine-tune your lighting with Flash Exposure Compensation, and choose between Front/Rear-Curtain Sync for dynamic motion effects. A versatile tool built for professional results.
*1/80000s with Sony cameras equipped with global shutter.
5. Lightweight Portability
Weighing just 282 g (361 g with battery), the V480 fits comfortably in your hand and slips into any camera bag. Stay lightweight on location while enjoying powerful flash performance.
6. 650 Full-Power Flashes
A 7.2 V/2200 mAh rechargeable battery delivers up to 650 full-power flashes and recycles in just 1.7 s. USB-C charging lets you top up between sessions so you can keep shooting all day.
7. 10-Level Modeling Lamp
Preview exactly how your flash will shape shadows and highlights with a built-in LED lamp offering ten brightness levels. Ideal for pre-visualizing light direction and intensity, it lets you fine-tune your setup before firing the main flash.
8. Flexible Bounce Head
Tilt from –7° to 120° and swivel a full 330° for precise bounce angles. Use walls, ceilings, or floors to craft soft, natural fill or striking side light, adapting instantly to any shooting environment.
9. Creative Light Shapers
Slide in the catchlight panel for crisp, sparkling eyes or snap on the wide-angle diffuser to soften and broaden coverage for groups or environmental portraits. These built-in tools let you shape your light instantly—no extra attachments required.
10. Extensive Accessory Compatibility
Expand your creative toolkit with ease: add Bowens-mount softboxes, reflectors, and more using the S2 bracket. One flash, endless possibilities.
What’s in the Box
Tech Specs
| Model | V480C | V480S | V480N | V480 F | V480 O |
| Global Shutter Sync Shooting | / | Provided | / | / | / |
| Radio Wireless Global Shutter Sync | / | Provided | / | / | / |
| Guide Number(1/1 step, 105mm focal length) | Approx. GN50 (ISO 100, in meters) | ||||
| Flash Coverage | Auto zoom (flash coverage is set automatically to match the lens focal length and image size) | ||||
| Manual zoom(24-105mm) | |||||
| Flash Head Angle | Swinging/tilting flash head (bounce flash): 0 to 330° horizontally and -7° to 120° vertically | ||||
| Flash Duration (t0.1) | 1/600s-1/20000s | ||||
| Exposure Control | |||||
| Exposure Control System | TTL auto flash and manual flash | ||||
| Flash Exposure Compensation (FEC) | ±3 steps with 1/3 increment each step | ||||
| Sync Mode | High-speed sync (up to 1/8000 seconds,or 1/80000 seconds with Sony cameras equipped with global shutter), first-curtain sync,and second-curtain sync | ||||
| Multi Flash | Provided (up to 100 times, 100Hz) | ||||
| Wireless Flash (Radio 2.4G Transmission) | |||||
| Wireless Function | Sender, Receiver | ||||
| Sender Groups | A, B, C, D, E (V480C)
M, A, B, C, D (V480 S/ V480 N/ V480 F/ V480 O) |
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| Receiver Groups | A, B, C, D, E | ||||
| Transmission Range (approx.) | 100m | ||||
| Channels | 32: 01~32 | ||||
| ID | OFF/01~99 | ||||
| LED Modeling Lamp | |||||
| Power | 2W | ||||
| Color Temperature | 5300K±300K | ||||
| Power Supply | |||||
| Lithium Battery | 7.2V/2200mAh | ||||
| Recycle Time | Approx. 1.7 seconds. LED indicator will light up when the flash is ready. | ||||
| Number of Flashes (1/1 step) | Approx. 650 | ||||
| Power Saving | Provide standby and auto off functions | ||||
| Sync Triggering Mode | Hot shoe, 2.5mm sync cord | ||||
| Dimension | |||||
| W× H×D | 6.54’’*2.8’’*1.93’’ | ||||
| Net Weight Without Battery | Approx. 282g | ||||
| Net Weight With Battery | Approx. 361g | ||||
The post Godox announced a new V480 TTL Flash appeared first on Photo Rumors.
DxO Labs released new Optics Modules for the latest cameras and lenses from Canon, Nikon, Leica, Sigma, and Zeiss
The new DxO Modules can be found in the following DxO software:
Additional informtion:
New DxO Modules enhance the latest gear from Canon, Nikon, Leica, Sigma, and Zeiss.
With this update, DxO offers image quality improvements for more than 104,000 camera and lens combinations.
DxO is proud to announce immediate support for the newest cameras and lenses from many of the industry’s leading manufacturers. DxO Modules are now available for Canon’s latest vlogging camera, the EOS R50 V, and Nikon’s newest full-frame mirrorless camera, the Z5 II.In addition, a host of lenses are now included, covering new optics from Canon, Leica, Nikon, Sigma, and Zeiss. Highlights include Canon’s affordable wide-angle zoom for APS-C cameras, the RF-S 14-30mm F4-6.3, and Nikon’s new fast prime, the Nikkor Z 35mm F1.2 S.
The update also includes five lenses from Sigma — four for Canon RF-S mount and one for L-mount — and Leica’s much-anticipated refresh of the Summilux-M 50mm F1.4. Rounding off the list is the Zeiss Otus 50mm F1.4 for both Canon RF and Nikon Z mounts.
Each DxO Module is developed in DxO’s exclusive laboratory as a custom mathematical profile for a specific camera and lens. By precisely analyzing every focal length, focus distance, and aperture setting, DxO extracts the full potential of each setup to deliver exceptional image quality.
The post DxO Labs released new Optics Modules for the latest cameras and lenses from Canon, Nikon, Leica, Sigma, and Zeiss appeared first on Photo Rumors.
The latest lenses from China:
→ The new Viltrox AF 28mm f/4.5 VCM ASPH ED lens for Nikon Z-mount is already listed for sale at:
→ More pictures of the new Songraw 85mm f/1.2 lens.
→ Coming soon: new Noxlux DG 50mm f/1.2 lens for Nikon Z-mount by Mr. Ding (additional informtion).
→ There is a new Chinese lens manufacturer called Lailens, and they have already released their first lens with plans for a second one:
→ New SG-Image 25mm f/1.8 lens announed in China.
→ 7Artisans AF 35mm f/1.8 (check website for updates).
→ Brightin Star 35mm f/1.4 (check website for updates).
→ Brightin Star 28mm f/2.8 olive green limited edition lens for Leica M-mount - now available at: Amazon | Official website | Aliexpress.
→ Brightin Star 50mm f/1.2 Bokeh Control lens mock-up (check website for updates).
→ Brightin Star 35mm f/0.95 APS-C lens for Z/XF mount (check website for updates).
→ Brightin Star 50mm f/1.4 III lens for EF-M/MFT mount (check website for updates).
→ Yongnuo AF 35mm f/1.8 lens.
→ Viltrox will debut its latest 85mm Pro lens at the 2025 BILD EXPO.
→ DZOFilm retro-inspired Arles Lustre cinema lenses (additional information).
→ Blazar anamorphic full-frame cinema lenses.
The post The latest lenses from China appeared first on Photo Rumors.
The new Fujifilm X Half digital compact camera with the diptychs feature will start shipping on June 17 in the US. The camera is currently in stock in the UK (only the black version):
Fujifilm X-Half frame digital compact camera additional coverage
Fujifilm X Half digital compact camera with diptychs feature now officially announced
The post The new Fujifilm X Half camera is now in stock in the UK, will start shipping in the US on June 17 appeared first on Photo Rumors.
Leica announced the previously rumored Vario-Elmarit-SL 28–70mm f/2.8 ASPH lens based on the Sigma version for L-mount:
New Leica Vario-Elmarit-SL 28–70mm f/2.8 ASPH lens announced
The post Leica announced a new Vario-Elmarit-SL 28–70mm f/2.8 ASPH lens (L-mount) appeared first on Photo Rumors.
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Fujifilm X-E5 | Fujifilm XF 23mm F2.8 R WR | F2.8 | 1/3200 sec | ISO 250 | Astia |
This week, Fujifilm announced the X-E5, a rangefinder-style mirrorless camera aimed at enthusiasts. At this point, the tech at its heart is pretty well-known. The stabilized 40MP APS-C sensor has been kicking around in cameras like the X-H2, X-T5, and X-T50, so we're not expecting any surprises when it comes to image quality; this is a system that Fujifilm's spent a lot of time dialing in.
What is new is the introduction of the company's (in?)famous film simulation dial to an enthusiast-class camera. It's sporting a new retro look, sure, but its goal remains the same: to get you to play around with the different color modes that Fujifilm is well-known for. It even builds on the concept by allowing you to fill the custom slots with film "recipes," which are groups of settings that the community has put together to get certain looks out of their JPEGs.
We spent some time using the camera and, yes, the film simulation dial to get a feel for how it performs in a variety of situations. Feel free to browse through the photos to see how it did.
Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing; we do so in good faith, so please don't abuse it.
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This week, Fujifilm announced a new rangefinder-style camera aimed at enthusiasts: the X-E5. It sparked a lot of discussion about what features a camera of this class should have, what the X-E line going back upmarket means for Fujifilm's lineup as a whole and especially about its pricing, which is substantially different in the US than in the rest of the world.
Some of DPReview's staff sat down to talk about the X-E5 and the community's reaction to it. You can catch our thoughts in the video below.
Viltrox will officially announce the previously reported Viltrox AF 85mm f/1.4 Pro lens or Sony E-mount next week on June 16th for the 2025 Bild Expo (other mounts will be released later). Here are the details:
In the US, Viltrox lenses are sold at B&H and Amazon. International shipping is available at Pergear and at the official Viltrox website (you can get 8% off at the online store with code NIKONRUMORS):
The post The Viltrox AF 85mm f/1.4 Pro lens will be officially announced next week appeared first on Photo Rumors.
On July 16, 1945, the United States conducted the world's first test of a nuclear bomb. The Trinity test sent fallout well beyond the desert of New Mexico, though, and an unlikely source discovered it. A video from YouTuber Veritasium details that incident, explaining how famous film company Kodak accidentally discovered radiation on its X-ray film. It's not a new video, and it's a story that may be familiar to some, but it's too fascinating not to share again.
As the video explains, in 1945, Eastman Kodak Company noticed fogging on its X-ray film. The company began testing and discovered unusual radioactive contamination on the strawboard material used for packaging its photo-sensitive films. The board was produced at a mill in Vincennes, Indiana on August 6, 1945, not long after the nuclear test and, coincidentally, the same day Hiroshima was bombed.
After further testing between September and December 1945, Kodak noticed the boards showed fairly strong beta-activity, which ruled out naturally radioactive materials. Eventually, Kodak determined that this radiation was consistent with the isotope Cerium-141. A paper published in Physical Review in 1949 reports Kodak's findings: "The most likely explanation seems to be that it was a wind-borne fission product derived from the atom-bomb detonation in New Mexico on July 16, 1945."
In January 1951, Kodak noticed continued problems. The company complained to the US government and threatened to sue, so the "Atomic Energy Commission agreed to give the company 'advance information on future tests,' including 'expected distribution of radioactive material in order to anticipate local contamination,'" explains the Institute for Energy and Environmental Research.
This isn't the only weird story about Kodak, either. For years, the company's film production wing was owned by the UK government's pension fund. Both are intriguing situations that are just part of Kodak's interesting history.
The Luminar Neo summer sale, where you can get up to 75% off, will end in 72 hours. Here’s the offer breakdown:
The post 72 hours left: Luminar Neo up to 75% off sale appeared first on Photo Rumors.
WANDRD initially started on Kickstarter, and for their latest WANDRD PRVKE V4 camera bag, they decided to go back to Kickstarter - they have already raised over $215,000 in the first few hours with an initial goal of $25k:
WANDRD bags are sold at Amazon, B&H Photo, and the official online store.
Here are a few other photo projects on Kickstarter:
The post New WANDRD PRVKE V4 camera bag is now live on Kickstarter appeared first on Photo Rumors.
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| Image: Sony |
We've made it to Friday, folks. That means it's time to share some firmware news. We already shared the most significant firmware news of the week: a massive update for Nikon Z8 cameras. It introduces multiple new features, but it isn't yet available for download. Nikon also released a more modest update for the Z5, though, which is available for download now. Plus, Sony is offering an update for the a6700, which brings some worthy quality-of-life updates. Let's get into it.
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| Image: Sony |
Download page for firmware Ver. 2.00
Sony's latest firmware for the a6700 brings some helpful changes, many of which are related to file transfers. The a6700 will now let you continue shooting even when transferring files to a phone or tablet, which is especially useful when photographing events or working in fast-paced environments. Also helpful is the ability to resume transfers if they are interrupted, instead of needing to start the process over again. Plus, the update allows you to only transfer data that hasn't already been sent, preventing duplicates.
The update promises improved image quality when using LUTs, though Sony doesn't say exactly what that means. Here's all you can expect from firmware Ver. 2.00:
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| Image: Nikon |
Download page for firmware Ver. 1.50
Nikon's update for the Z5 is much more subtle than its Z8 firmware announcement. Most notable is the added support for power zoom functionality, which the company added to the Z6 II and Z7 II last week. Here are all of the updates for the Nikon Z5:
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| Photo: Abby Ferguson |
There's a common saying in the photography world: The best camera is the one you have with you. After all, it doesn't matter how fancy of a camera you own if you don't have it when something worthy of photographs appears. These days, nearly everyone constantly has a camera with them in the form of a smartphone. If you'd like to maximize image quality from your pocket-sized camera, here are some settings you may want to adjust.
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| Your phone's main camera will give you the best image quality. |
Most smartphones feature two or three different cameras on the back and one on the front, each equipped with sensors of varying sizes. The main camera uses the largest sensor, offering the highest resolution and best light-gathering abilities. So, when image quality is crucial, you're better off using the main camera instead of the other options.
Most cameras will open the main camera by default when you launch the camera app. If you aren't sure, make sure the 1x focal length is selected. If you do want a different field of view (how much you see of a scene), stick to the preset options, such as 0.5x or 2x. Pinching to zoom relies on digital cropping and enlargement, reducing quality.
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| Shooting Raw will give you more flexibility when editing your images. |
Some phones will allow you to use Raw file types. While most phones' Raws are still stitched together from multiple exposures, they typically preserve more image data and may apply less processing, giving you greater flexibility when editing. If you know you want to edit your phone photos before sharing them, using the Raw file type will give you more control and help you get more out of your files.
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| Even if your phone doesn't have a manual mode, it may provide quick controls for brightness, shadows and white balance. The Pixel 9a, for example, allows you to put those controls on the side of the app. |
While phones usually do a pretty good job of handling exposure, they sometimes miss the mark or don't produce what you envision. Most will offer quick exposure compensation or brightness adjustments without getting into individual settings, but that may not be enough. Many phones offer some variety of manual or Pro mode. Those modes allow you to change settings like ISO, shutter speed and white balance, giving you more creative control over your images.
ISO is a particularly useful setting to adjust, as it can significantly impact image quality. Prioritizing a low ISO when you're working with enough light will help you get a cleaner image with minimal noise, thus improving overall image quality. Just be aware that you'll need higher ISOs in low-light situations.
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| Even the ProCam X Lite app (a free version of ProCam X) offers more control over settings than most default apps provide. |
Lastly, some phones either don't offer manual controls at all, or they may be far too basic and limiting. Likewise, you may want to bypass the automatic image processing from your phone's native camera app. If that's the case, a third-party camera app may be helpful. There are lots of options out there, including ProCamX, OpenCamera, ProShot, ProCamera, Halide Mark II and more.
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Choosing a 4:3 aspect ratio will help you capture the full image without automatic cropping. The Google Pixel 9a, like many phones, defaults to that. |
Phone sensors generally use a 4:3 aspect ratio, but your phone's camera app likely provides other options, such as 16:9. Those ratios result from cropping, though. Sticking with 4:3 allows you to use the full sensor, giving you more flexibility to crop after the fact and helping you get as much as you can from that small sensor.
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| The Nothing Phone 3a offers a 50MP setting, but it defaults to 12MP. |
Some smartphone companies flaunt their high-resolution cameras, but their phones don't use those resolutions unless you change the settings. The Samsung Galaxy S23 Ultra, for example, is capable of 200MP photos. But the camera app isn't usually set to that maximum resolution by default.
While switching to that higher resolution may be tempting when trying to maximize quality, it's not always the best idea. After all, the default resolution is set that way for a reason, and you may not get better image quality from those higher resolutions. That's because most maximum megapixel modes won't benefit from the pixel binning that helps reduce noise in the lower-resolution modes, so you may not actually end up with more detail.
Even though phone cameras have become quite good, they still won't match the quality of most dedicated cameras, especially in low-light situations. However, by adjusting the settings above, you may be able to tease out more quality, helping you to get the most out of your on-hand camera. Just don't forget that general photography principles apply as well.
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| Image: Leica |
Leica has announced the Vario-Elmarit-SL 28–70mm F2.8 ASPH lens. The new lens is the lightest and most compact standard zoom yet in the company's SL lineup for L-mount cameras.
The Leica 28–70mm F2.8 comprises 16 elements in 12 groups, including 3 aspherical elements. It can focus as close as 0.19m (7.48") at the wide end and 0.38m (15") at 70mm. The optical design is remarkably similar to the Sigma Contemporary 28-70mm F2.8 DG DN lens. However, given that the MTF charts are substantially different, the two lenses seem to perform differently.
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| Image: Leica |
The new Leica lens is also heavier than the Sigma offering, highlighting at least a difference in external construction. That said, it's still quite compact and lightweight. It's lighter than the Vario-Elmarit-SL 24–70mm F2.8 ASPH, albeit with slightly less reach at the wide end. It's also much more compact than the Leica 24-70mm, though it shares dimensions with the Sigma 28-70mm lens.
| Leica 28–70mm F2.8 | Leica 24-70mm F2.8 | Sigma 28-70mm F2.8 (L-mount) | |
|---|---|---|---|
| Weight | 572g (1.2lbs) | 856g (1.89lbs) | 470g (1.0lbs) |
| Length | 102mm (4.02") | 123mm (4.8") | 101.5mm (4") |
| Diameter | 72mm (2.8") | 88mm (3.5") | 72mm (2.8") |
The extra weight of the Leica 28-70mm compared to the Sigma lens is likely due to its metal housing. Leica says the metal construction shields the internal components "from external elements, such as dust and splash water." Sigma's Contemporary lens only offers weather sealing at the mount, not throughout the lens.
Leica's latest lens uses a 67mm filter thread, the same as its SL APO prime lenses. Leica promises quiet and fast autofocus and "cutting-edge coatings" for ideal color rendition and contrast while minimizing reflections.
The Leica Vario-Elmarit-SL 28–70 F2.8 ASPH is available for purchase as of today for $1890. It can also be purchased as a kit with the SL3-S for $6495.
Press release:
With over 150 years of expertise, Leica has built a legacy in developing precision optical instruments. Leica Camera AG introduces the new Leica Vario-Elmarit-SL 28–70 f/2.8 ASPH., setting a new standard as the most compact and lightweight zoom lens for the SL-System. It seamlessly blends versatility with exceptional imaging performance, enriching the L-Mount portfolio with a premium, fast standard zoom lens designed for everyday use.
The innovative optical design and incorporation of aspherical elements enable the new SL-Lens to deliver exceptional performance while maintaining a constant f/2.8 aperture across its entire focal-length range. Thanks to its constant aperture throughout the zoom range, this lens is an ideal choice for both photography and videography. Featuring Leica’s globally renowned craftsmanship, the new Vario-Elmarit-SL is a premium lens that meets the exacting standards of ambitious photographers, providing them with the support they need to bring their creative visions to life.
The focal length spanning from 28 to 70 mm allows the lens to transition from wide angle to slight telephoto, making it particularly well-suited for capturing landscapes, travel scenes and portraits. The fast autofocus system consistently delivers precise and reliable focus. Cutting-edge coatings on the lenses ensure optimal colour rendition and contrast. These optimise light transmission while effectively minimising reflections. The sophisticated optical construction, comprising 16 lenses arranged in 12 groups, delivers exceptional performance. Three of these lenses feature aspherical surfaces on both sides, enhancing image quality and precision.
The advanced internal technology is securely shielded from external elements, such as dust and splash water, thanks to its durable metal housing. Despite this metal housing, the lens remains lightweight at just 572 g. Its compact dimensions – 102 mm in length with a maximum diameter of 72 mm – ensure excellent portability and versatility for both photography and videography.
The Leica Vario-Elmarit-SL 28–70 f/2.8 ASPH. will be available worldwide in Leica Stores, in the Leica Online Store, and from authorised dealers from 12 June 2025. It can be purchased individually or as part of an attractive kit with the SL3-S. The recommended retail price for the lens is EUR 1,950.00 incl. VAT. The recommended retail price for the SL3-S Vario Kit 28–70 is EUR 6,500.00 incl. VAT.
The previously rumored Fujifilm X-E5 camera and Fujifilm XF 23mm f/2.8 WR pancake lens, and kits with both the camera and lens, are now officially announced and available to preorder:
Additional information on the new Fujifilm X-E5 camera:
The X-E5 is fitted with a 40 MP X-Trans CMOS 5 HR sensor, the latest X-Processor 5, and marks the first X-E series camera to feature in-body image stabilisation (IBIS) with up to 7 stops of compensation. It also offers advanced autofocus performance for both stills and video, a base ISO of 125, and impressive video capabilities up to 6.2K/30p, all backed by an improved IBIS algorithm. On top of this Fujifilm has also added a film simulation dial and a new Surround View function for the viewfinder.
The press release can be found here.
The post Announced: Fujifilm X-E5 camera and Fujifilm XF 23mm f/2.8 WR pancake lens appeared first on Photo Rumors.
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The Fujifilm X-E5 is the latest mid-range rangefinder-style mirrorless camera to join the X-series. It takes several steps back towards the enthusaist-friendly outlook of the original X-E models and gains image stabiliation along the way.
The Fujfilm X-E5 will be available in August at a recommended price of $1699, body only, or $1899 with the new 23mm F2.8R WR lens. The body-only price represents a $300 premium over the launch price of the similarly-specced X-T50. This difference doesn't exist outside the US. In the UK, for instance, the body-only price is the same £1299 the X-T50 launched at, and in Canada it's CAD $2000: a 5% increase over the X-T50's launch price.
Simply put, in most countries, the X-E5 matches the launch price of the X-T50, in the US it matches that of the X-T5.
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Slightly unexpectedly for such an enthusiast-focused camera, the X-E5 has a dedicated film simulation dial. In a purely aesthetic flourish, the selected film simulation is displayed through a small circular window on the top of the camera. It's pure style over function, and yet...
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| You can save different sets of parameters for each of the three FS positions on the dial, and configure a button to toggle between your standard settings and the recipe. |
The detail we found really interesting, though, is the ability to assign not just your choice of film simulation to the dial, but the option to assign film sim 'recipes,' with Fujifilm explicitly adopting the term that originally came from the user community.
Each of the three customizable FS positions on the dial gives you the option to customize a full suite of settings, including grain effect, highlight and shadow response, clarity, noise reduction and color chrome effect (red and blue). These settings are retained specifically for that FS slot, and changing them when a different film sim is selected doesn't override the values you've chosen.
Another thing signalling the X-E5's status in the Fujifilm lineup is the incorporation of in-body image stabilization. Like the version in the X-T50, the X-E5's stabilization is rated as giving up to 7.0 stops of correction at the center and 6.0 at the peripheries. Fujifilm says it's using an updated gyro to detect roll motion and an updated algorithm to improve performance.
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The X-E5 regains several of the control points it lost in the previous iteration, but also adds, for the first time, one from the X100 series. The faux 'self-timer' switch on the front of the camera is the same as the one on the X100VI, which can be pushed left or right to select a function or held (for >2 sec) in either direction to access a further two. There's a button at the center of the switch to access a fifth function, with all five options being customizable.
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| The X-E5's classic viewfinder mode |
One of the other additions to the X-E5 is perhaps the clearest reminder that this is a camera that comes from the designers who brought you the X half. It's a retro display mode for the viewfinder that shows just the exposure mode, exposure settings and battery indicator in red, as if you were looking at an LED-lit display. The image preview shows the effect of exposure comp and film suimulations, as usual.
In this mode the exposure comp scale on the left of the display is replaced by a needle-style indicator on the right. It's almost impossible to interpret with any accuracy, at anything other than the centered position, but it's visually in keeping with the rest of the camera's looks. Charming or ridiculous: you decide.
In most other respects, the X-E5 matches the spec of the X-T50, with both cameras sharing a sensor and processor and hence offering the same video modes, the same burst rates and otherwise similar capabilities.
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The most obvious comparison for the X-E5 is to the X100VI. The two are very similar in size and feature set, especially if you pair the X-E5 with the new 23mm F2.8. The X-E5 is an interchangeable lens camera, giving you more overall flexibility. But this means leaving room for a focal plane shutter, the absence of which lets the X100VI's lens extend closer to the sensor, making it easier to deliver an extra stop of brightness, despite the similar external dimensions. The big difference is the hybrid optical/electronic viewfinder and the all-in-one package the X100 offers. We suspect most people will know which they want.
If you're looking for interchangeable lenses, the X-E5's most similar competitor is the Sony a6700. They follow very different schools of design but are both very capable, relatively compact, stabilized APS-C cameras.
Simply put: in most countries, the X-E5 matches the launch price of the X-T50, in the US it matches the X-T5.
The high price (in the US, at least) puts the X-E5 into low-end full-frame territory. Its shape and leatherette cover might make you think of the Panasonic DC-S9 but that's aimed as much at vlogging as photography. We think the Nikon Z5 II, with its twin command dials, is a better comparison, despite its SLR-like format. And, if you're not committed to the X-E's boxy layout, Fujifilm's own X-T50 and X-T5 are interesting comparisons. Outsidethe US you can get the X-T50 for similar money, but we're going to compare the X-T5 here, simply because there's more to set them apart.
| Fujifilm X-E5 | Sony a6700 | Nikon Z5 II | Fujifilm X-T5 | |
|---|---|---|---|---|
|
MSRP US |
$1699 £1299 |
$1399 £1429 |
$1699 £1599 |
$1699 £1699 |
| Sensor res, type, size |
40MP BSI CMOS |
26MP BSI CMOS APS-C |
24MP BSI CMOS Full-frame |
40MP BSI CMOS APS-C |
| Stabilization | 7.0EV | 5.0EV | 7.5EV | 7.0EV |
| Viewfinder | 2.36M dot OLED 0.62x mag |
2.36M dot OLED 0.70x mag |
3.69M dot OLED 0.8x mag |
3.69M dot OLED 0.8x mag |
| Rear screen | 3.0" 1.04M dot tilt up/down |
3.0" 1.04M dot fully-articulating |
3.2" 2.10M dot fully-articulated |
3.0" 1.84M dot two-axis tilt |
| Cont. shooting | 8fps Mech 13fps Elec. |
11fps Mech 11fps Elec. |
9.4fps EFCS 10fps Elec* |
15fps Mech 13fps Elec. |
| Video options | 6.2K/30 w/ 1.23x crop 4K/60 w/ 1.14x crop 4K/30 full width |
4K/120 w/1.58x crop 4K/60 oversampled |
4K/60 w/1.5x crop 4K/30 oversampled |
6.2K/30 w/ 1.23x crop 4K/60 w/ 1.14x crop 4K/30 full width |
| Mic/'phones | Yes / Via USB | Yes / Yes | Yes / Yes | Yes / Yes |
| 4ch audio | Via optional adapter | Via optional adapter | No | Via optional adapter |
| Media slots | 1x UHS-II SD | 1x UHS-II SD | 2x UHS-II SD | 2x UHS-II SD |
| Battery life LCD / EVF | 310 / – | 570 / 550 | 350 / 330 | 580 x 590 |
| Weight | 445g (15.7oz) | 493g (17.4oz) | 700g (24.7oz) | 557g (19.6 oz) |
| Dimensions | 125 x 73 x 38mm | 122 x 69 x 64mm | 134 x 101 x 72mm | 130 x 91 x 64mm |
*30fps in 12-bit readout, JPEG-only mode
The X-E5's high price in North America pits it against some impossible competition, including the X-T5, which with its nicer viewfinder, twin card slots and weather-resistant build, is clearly meant to sit higher up in the lineup. It'll be interesting to see whether its price has to rise in the coming weeks.
There are certainly arguments to be made for a smaller, lighter camera, and the smaller, lighter lenses that go with it, but the strong specs and aggressive price of the Nikon Z5II mean it's a tempting option, if size and weight aren't especially important to you.
It's much easier to make the case for the X-E5 at its UK price, where it undercuts all the other cameras here, and its style and charm can make their case a little more loudly, without being drowned-out by the noise of trade concerns.
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The X-E5 is a very solid feeling camera. At 445g, almost a third heavier than the previous iteration. The whole camera feels more dense than earlier models in the series, giving more of an impression of solidity than before.
The X-E5 has more control points than its immediate predecessor, regaining the twin pressable command dials of the earlier models. It also has the side-panel focus mode switch, which was absent from the X-E4.
In addition to these reinstated controls, there's the self-timer style switch and button combination on the front of the camera, meaning you can access up to five settings or functions quickly (or, at least, three of them quickly and another two eventually).
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The X-E5 also gains a bulge along the front and back right edge of the camera, giving it more of a grip than the last model and again bringing it closer into line with the previous cameras. It's not the most substantial grip and it stops just above the camera's base plate, leaving a hard edge that you probably don't want to wrap your fingers under.
As with previous X-Es, this is a camera you're mostly likely to be supporting with your left hand when in a shooting stance, and we'd consider the grip to be sufficient, rather than anything more than that.
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There's a small viewfinder at the top left of the camera. It's a relatively small finder with the same 2.36M dot (1025 x 768px) resolution as the X-E4 had.
It has a very small, hard rubber surround, but no real eye cup to protect from stray light. It has a fairly short eye-point, so glasses wearers are likely to find they can't see the whole finder at the same time. We'd say it's there for working in bright light, rather than full-time use, which is more of an X-T5 way of working.
The rear screen is the same tilt up/down 1.04M dot (720 x 480px) touchscreen as on the X-M5.
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The X-E5 uses the same NP-W126s battery as most of Fujifilm's smaller cameras. Fujifilm has not provided a battery life figure for the camera but we would expect it to be very similar to the 305 shot/charge rating of the X-T50, with which it shares the majority of its components.
CIPA ratings tend to significantly under-represent most people's real-world shooting patterns, and getting double the quoted figure isn't unusual. A rating around 300 shots is reasonable and should be good for a weekend of occasional shots or an afternoon of committed photography. The camera can be charged or powered over USB-C.
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We found it interesting to compare the X-E5 to the hypothetical one we wrote about, last October. We correctly guessed that it would have a stabilized 40MP sensor but didn't think it would have a film simulation dial. We were also right when said we thought there was room below the X-T5 to fit an enthusiast model, and that the X-E5 could fill that gap by regaining its second command dial.
And while we said we didn't expect it to be the case, we're delighted that the X-E5 has taken a step back towards being the photographer-friendly camera the series started out as. In the process of doing so it's gained more or a premium feel to its design and build than previous models.
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| The X-E5, right, regains a number of control points missing from the X-E4, left. These include a second clickable dial on the back of the camera, along with the 'self-timer' style switch on the front, that can accommodate up to five functions, a focus mode switch on the side and the film simulation dial on the top plate. |
Personally, I would have preferred two non-clickable dials, as it gives a more solid feeling to the control points and avoids any risk of you accidentally clicking while you're trying to turn the dial. I tend to find two command dials are sufficient to control all the key parameters on a camera that also has a dedicated exposure comp dial. I accept that it gives greater freedom of choice and that the ability to press something directly under your thumb to punch in for check focus in manual focus mode is convenient, but I think it would be more in keeping with the sense of well-built solidity that other parts of the design imply.
I also found, as on the X100VI, the long-press of the self-timer switch takes far too long to register: you have to hold the switch for over two seconds to access the second function assigned to that directional press. This is far longer than necessary to prevent accidental access, and means you don't really have particularly quick access to whatever function you've assigned.
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| Paired with the new 23mm F2.8R WR, the X-E5 is perhaps the closest you can get to an interchangeable lens X100VI. It's likely an updated X-Pro would be larger and more expensive. |
Not that I've found myself trying to configure every possible control on the X-E5. It's a camera stuffed to the brim with features (Film recipes, DR modes, face and eye detection separate from its other subject recognition modes...) and yet there are very few of them I need such quick access to that I require two multi-function dials, nine customizable buttons and switches, and four directional swipes on the screen. But they're there if you need them.
But, to a large extent, this is the same thing I felt about the recent X100 models, which in itself is telling. The X-E5, especially with the 23mm F2.8 being launched alongside it, is perhaps the closest we've yet got to an interchangeable lens X100.
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| We're impressed to see Fujifilm pay attention to its users by providing a simple way to build the 'recipes' that have become a popular way to get the most out of the film simulation system. |
But it's impossible to assess the launch of a new Fujifilm model without having to address price and availability. Fujifilm tells us "units are being manufactured in accordance with demand forecasts," and that cameras for the US market will be made in Japan. Notably the 23mm F2.8R WR lens isn't being offered to other customers until "late 2025," prioritising production for X-E5 kits, so there's some reason for optimism.
The price is undeniably high, though: the X-E series had become progressively less expensive as they were made simpler, so this more ambitious model was always going to be a step above its predecessor. The subsequent pricing of the X-T50 and X-M5 also hints at the contribution of inflation in four and a half years since the X-E4's launch. Collectively, these might have explained a launch price that matched the X-T50, as is the case outside the US. Unfortunately, that's not the version of the world we live in.
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| Image: Fujifilm |
Fujifilm has announced the XF 23mm F2.8 R WR lens, a wide-angle, 35mm equiv. pancake lens for its APS-C cameras. It's a similar focal length to the lens used by the much-coveted X100-series and has similar dimensions, though its maximum aperture is a stop slower.
The lens is very light and compact; it's 23mm (0.9") long and weighs in at 90g (3.2oz). Despite that, it has a fair number of features: it has a clicking aperture ring that can be locked into the auto position, its manual focus ring has a "high frequency position" detector to make it easier to focus despite its short throw, and it's water and dust resistant. The silver version of the lens even has a matched grey gasket on the back, rather than a black one.
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| The X-E5 paired with this lens makes a pretty compelling X100VI alternative. Photo: Mitchell Clark |
Optically, the lens is made up of 8 elements in six groups with two aspherical lenses. It has an 11-blade aperture and a 20 cm (7.9 inches) minimum focusing distance.
The lens will come in black or silver, and will retail for $499. Fujifilm says it won't be available on its own until December, though it'll start making its way into customers hands as a kit lens for the X-E5 later this summer.
Press Release:
Fujifilm Introduces the Versatile, Ultra-Compact, Lightweight FUJINON XF23mmF2.8 R WR Lens
VALHALLA, N.Y. - June 12, 2025 – FUJIFILM North America Corporation, Electronic Imaging
Division, announces the launch of its FUJINON XF23mmF2.8 R WR (XF23mmF2.8 R WR) lens.
Designed with portability in mind, XF23mmF2.8 R WR was developed to be thin and unobtrusive while delivering powerful resolution and autofocus (AF) performance.
“The first word that comes to mind when thinking of XF23mmF2.8 R WR is ‘versatility’,” said Victor Ha, vice president, Electronic Imaging and Optical Devices Divisions, FUJIFILM North America Corporation. “The lens is adaptable to handle standard, wide-angle, close-up image making with ease, while at the same time offering an ultra-compact form factor and user-friendly functionality. From street photography and travel/landscape, where the big picture tells the story, all the way to tabletop photography, where close up, intricate details are critical, XF23mmF2.8 R WR is the ideal everyday carry, designed to work with you on the move.”
Main Features:
Ultra-compact and lightweight design with high resolution performance
XF23mmF2.8 R WR is designed to deliver high resolution performance compatible with the FUJIFILM X Series’ approximately 40.2 megapixel X-Trans™ CMOS 5 HR1 sensor.
Close-up photography and high-precision, high-speed autofocus (AF)
Stylish yet durable user-friendly design
The FUJINON XF23mmF2.8 R WR lens will be available late 2025 at a Manufacturer’s Suggested Retail Price of $499.95 USD and $559.99 CAD. For more information, visit https://www.fujifilm-x.com/en-us/products/lenses/xf23mmf28-r-wr/.
1 X-Trans is a registered trademark or trademark of Fujifilm Corporation.
2 Equivalent in size to XF27mmF2.8 R WR.
| Principal specifications | |
|---|---|
| Lens type | Prime lens |
| Max Format size | APS-C / DX |
| Focal length | 23 mm |
| Lens mount | Fujifilm X |
| Aperture | |
| Maximum aperture | F2.8 |
| Minimum aperture | F16 |
| Aperture ring | Yes |
| Number of diaphragm blades | 11 |
| Optics | |
| Elements | 8 |
| Groups | 6 |
| Special elements / coatings | 2 asph |
| Focus | |
| Minimum focus | 0.20 m (7.87″) |
| Maximum magnification | 0.15× |
| Autofocus | Yes |
| Motor type | Stepper motor |
| Full time manual | Yes |
| Focus method | Unit |
| Distance scale | No |
| DoF scale | No |
| Physical | |
| Weight | 90 g (0.20 lb) |
| Diameter | 62 mm (2.44″) |
| Length | 23 mm (0.91″) |
| Materials | Aluminium |
| Sealing | Yes |
| Colour | Black, Silver |
| Filter thread | 39 mm |
| Hood supplied | Yes |
| Tripod collar | No |
Connexion